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Maria Nordman, untitled, 1979, mixed media. Installation view, Berkeley Art Museum, Berkeley, CA.

SOME YEARS AGO, Rosalind Krauss used Frank Stella’s and Ad Reinhardt’s black paintings, respectively, to discern “two different minimalisms,” the latter of which amounted to a Zen-like examination of perception, “an expanding, pulsing awareness of the visual process itself.” In short, Krauss carefully distanced Stella and the New York Minimalism he influenced from the work of Robert Irwin, James Turrell, and others who, as she saw it, acknowledged Reinhardt’s metaphysics, privileged an atmospheric California sublime, and embraced an unmediated sensory plenum. Published in 1991, Krauss’s essay (“Overcoming the Limits of Matter: On Revising Minimalism”) reinforced what virtually every history of Light and Space has seemed to emphasize since the late 1960s. Today, the Light and Space corpus is positively striking in its homogeneity. One finds endless recitations of experiments in

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